Bee Dances
Kareth Schaffer
10. June - 23. June 2021
Thu 10.06.21
Fri 11.06.21
Sat 12.06.21
Sun 13.06.21
Mon 14.06.21
Tue 15.06.21
Wed 16.06.21
Thu 17.06.21
Fri 18.06.21
Sat 19.06.21
Sun 20.06.21
Mon 21.06.21
Tue 22.06.21
Wed 23.06.21
11 weitere Termine
Continuously online

thumbnail Bee Dances01 Saki Tagami web quadrat2
Galerie Bilder ansehen
10. June 2021
11. June 2021
12. June 2021
13. June 2021
14. June 2021
15. June 2021
16. June 2021
17. June 2021
18. June 2021
19. June 2021
20. June 2021
21. June 2021
22. June 2021
23. June 2021

Bee Dances presents the first collaboration by the Indonesian choreographer ninus and the Berlin-based choreographer Kareth Schaffer. Moving into the digital realm as a livestream at the end of February 2021 for reasons familiar by now, Bee Dances is an embodied exploration of what cultural exchange can mean in postcolonial times. How are different dance techniques inscribed in the bodies of the six dancers—from Indonesia and Europe—and how do flows of physical knowledge spread around the globe? Bee Dances maps the interconnections between contemporary dance as is often performed in Berlin and traditional Indonesian dance techniques, tracing their interrelations through a series of interventions, interviews, reconstructions, and new choreographies. The famous Balinese love duet by I Mario, Oleg Tamulilingan, is a key reference, as is the “waggle dance” of Asian and European honey bees (apis cerana and apis mellifera), first correctly described by German zoologist Karl von Frisch. The six dancers are accompanied by live music by Klaus Janek as well as by composer I Wayan Gede Purnama Gita’s gamelan musicians, whose digital presences float through the performance space of Uferstudios 1 on moving projection screens. Developed in the austere confines of the Berlin winter lockdown, Bee Dances explores notions of responsibility and proximity through a probing mutual pollination of movements, concepts, languages, histories, physicalities, and performers.

A production by ninus and Kareth Schaffer with funding by the Project Funding of Berlin Department of Culture and Europe, Goethe International Co-Production Fund, and Tanzfabrik Berlin. With friendly support by the Embassy of the Republic of Indonesia Berlin, Lenggang Pertiwi, and Ketut Rahayu.

You will find the link to the video from 10.06.21 here, then continuously available until 23.06.21.


Artistic Direction: ninus, Kareth Schaffer I Performance: Tatiana Mejia, Vilja Mihalovsky, ninus, K.S. Gitaswari Prabhawita, Kareth Schaffer I Putu Wibi Wicaksana | Music: Klaus Janek, I Wayan Gede Purnama Gita & Kemala Entertainment | Production: Marius Mailänder, Ruth Onduko | Press: Michael Tsouloukidse

Kareth Schaffer is a choreographer and performer: in her "post-postmodern" dance pieces she has so far examined prophecies, mud wrestling, thrillers, synchronised swimming, foley, emoticons and conversation formats, among others. Her most recent works include a diptych about the tragic heroine Kassandra (Cassandra Has Turned 1 + 2, 2018), a fan fiction piece about Angela Merkel (Merkel Dances, 2019) and a comprehensive investigation of foley, the dubbing of sounds in film, as a choreographic tool (Unheard Of, 2016). Schaffer is a Pina Bausch Scholar and was nominated by the Jahrbuch Tanz for the "Dancer of the Year 2018" award.

Ninus (1990) is an architect and dancer based in Bali, Indonesia. She started creating since 2014 after she decided to move from Jakarta to Bali. Her background in architecture impacts her creative process in dance. She sees dance in her architecture and vice versa. This creates a signature of her works, which are mostly site-specific and visual (composition, forms, shapes and textures within space) rather than story-telling with characters/narration. She has been actively involved in many collaboration projects with other multi-disciplinary artists. She is committed to exploring methods of creating and designing accessible entry points to (her) dance works. In this sense she tries to see entry points from a wider perspective and sometimes extreme point of view—for example, using photography or deaf space architecture principles as points of departure.

Ticket price
free admission

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